Dave Mustaine — £1,000 · Pro-Level Rig

• Downpicking at speed is the core technique — practise slowly with a metronome
• Palm muting with varying pressure creates the rhythmic pulse in thrash riffs
• Alternate picking for fast runs; strict downstrokes for the power riff sections
• Very high gain but controlled low end — a noise gate is essential to tighten the sound
• Amp EQ: bass 5, mid 6, treble 7, presence 7 — brighter than Sabbath, cuts through the mix
• Polyrhythmic riffs: Megadeth tracks often have riffs in 7/8 or against odd groupings
• Lead tone: same gain as rhythm, but move to the neck pickup for a smoother quality
• Pick very close to the bridge for extra bite and articulation on fast runs

• ✗Not using a gate on the Marshall DSL's high-gain channel — self-noise at this gain level is continuous and audible between notes. A noise gate is not a style choice; it is functional equipment for this gain level
• ✗Not exploring the Marshall DSL alone before adding pedals — a Les Paul or humbucker guitar into a British amp is already a near-complete overdrive system. Adding drive pedals on top is often unnecessary and muddies the amp's natural character
• ✗Neglecting to adjust a floating bridge when changing string gauges or tuning — a Floyd Rose or floating bridge requires re-balancing the spring tension any time the string setup changes.
• ✗Running amp gain at 10 — above 8 on most high-gain channels, the signal becomes a compressed, indistinct wall. Moderate-high gain with a boost pedal in front gives better results.
• ✗Skipping the Tube Screamer-style boost — this pedal before the amp's high-gain channel is not optional for many players. It tightens the low end, not adds gain. Gain on the pedal at 0.
• ✗Using too much gain — clarity at speed requires that individual palm mutes are audible. Maximum gain creates a compressed wall that sounds powerful but loses all rhythmic precision.
• ✗Scooped mid EQ — no guitar tone cuts through a thrash band with scooped mids. Mesa Rectifier tones at band volume are more mid-present than they appear in isolation.

Jackson Flying V or Dean VMNT (active EMG pickups) into a Krank Krankenstein or Marshall JCM900. Very high gain on the rhythm side, with a tight, controlled low end. Lead tone is smooth and singing — the aggression comes from rhythmic precision and picking attack, not just gain.